论文部分内容阅读
最初见到姚鸣京的绘画,印象最深的是他画中的树,以及绕在画面上的云。这树这云不是见于现实中的,恰是姚鸣京心中笔下所营造出的山水梦境;笔墨的小船沉于梦的河流,梦的河流自由出笔墨江海的无形。 20世纪的中国画自齐白石、黄宾虹之后,传统就成为过去,西画的光影彩色不由分说地进入了水墨,人们观物感物的方式也不是“行到水穷处,坐看云起时”,科
Yao Mingjing first met the painting, the deepest impression is the tree in his paintings, as well as the clouds around the picture. This tree is not seen in reality in this cloud, it is precisely the heart of Yao Ming Beijing’s pen and land to create a landscape dream; pen and boat sinking in the dream of the river, the dream of the river free to ink the ink invisible sea. Since the 20th century Chinese painting since Qi Baishi and Huang Binhong, the tradition has become the past. The light and shade of the Western painting went into ink and water without any preconditions. The way people view objects and feelings is not “going to the end of the water, sitting and seeing clouds”